The book, ‘12 Rules For Life,’ is a very serious book. There’s elements of humor in it, but I’m trying to struggle with things at the deepest possible level and to explain to people why it’s necessary to live a upstanding and noble and moral and truthful and responsible life, and why there’s hell to pay if you don’t do that.
We’re all screwed up. And the way Christians mess things up is we act like we’ve got it going on. And if we would just stay in that place of, ‘Hey, we’re all screwed up and but for the grace of God, none of us have a shot here.’ We need to have a sense of humor about it; that’s kind of the way I’ve always faced my comedy.
Kerry Washington is the most fun: she cracks me up! Everyone talks about how drop-dead gorgeous, smart, and fashionable she is, and she is all of that, but I must add she’s the hugest goofball. She has the best sense of humor and lightheartedness that makes coming into work every day so delightful.
I remember seeing McCoy Tyner in concert, and thinking that the music was incredible, but wanting to be invited in. I figured that humor was the way of letting the audience in. I’ve gotten a hard time about it, but I love to be funny onstage.
I certainly didn’t say while writing ‘Gossip Girl,’ ‘Oh this is going to be big!’ It was really like, ‘Oh god, everyone’s gong to hate these people! They’re so bratty!’ But I actually think what is so appealing about them is the humor in them.
One question about a joke is, how well is the strangeness of the situation resolved? At ‘The New Yorker’, we retain a lot of incongruity, tapping the playful part of the mind – Monty Python-type stuff. We also try to use humor as a vehicle for communicating ideas. Not editorial comment, but observation.
When I started, I wanted to be thought of as tortured and seductive, not funny, but humor tends to be a reflexive part of a person’s sensibility. It’s an almost impossible thing to teach anyone, which leads me to believe that it’s intuitive.
If you look at the game and everything, it’s not quite like looking at an animated film, because that’s total character. This, this is really movement, but it’s got funny little things if you look for the humor. They’re actually getting to the character.
I genuinely liked all of the cast members very much. Steve had a wicked sense of humor. I remember Russell coming to my rescue, once. I watched Eric evolve before everyone’s eyes. Maurice loved what he did, so. He treated his character with respect, down to the costuming.
The humor is essentially dark for a cartoon and sophisticated. But at the same time, being a cartoon gives the writers more freedom than in a normal sitcom. It always pushes the line that, despite human failings, the Simpsons are really decent people.
Some major writers have a huge impact, like Ayn Rand, who to my mind is a lousy fiction writer because her writing has no compassion and virtually no humor. She has a philosophical and economical message that she is passing off as fiction, but it really isn’t fiction at all.
The comics that are just conversing with you up there and drawing on their own life, yeah, I guess so. I guess some do political humor, some do topical humor, but the ones that I like, the ones that are appealing to me, were guys who were just talking to you about their life.
Since the goal of my programs is to show audiences how humor can both help them heal as well as deal with not-so-funny stuff, I decided to discuss the events of the previous week, the pain all of us were feeling, and how humor and some laughter might be beneficial.
While it is true that Frank had a great sense of humor, he was also very serious about composing music. In reality there are only a handful of skilled players who can play his most complex pieces. It takes a lot of patience to learn and requires a fantastic memory.
I’m going to do a lot of weird stuff that’s not going to be like me prancing around like an insane 12-year-old. I showed everybody that side of me and I think it’s time to do different stuff, even when it comes down to the type of humor. I want to do some drier, weirder stuff.
There is nothing like the way people feel after they’ve seen ‘The Intouchables.’ They feel amazing. The word of mouth on this film is incredible. It’s intelligent-feeling good. You’re not insulted by the low-browness or stupidity of some of the humor. It’s so smart and terrific.
You find out in life that people really like you funny. So what do you give ‘em? Humor. And then if you show them the other side, they don’t like you as much. I find, too, that I can hide behind the idiot’s mask being funny, and you never see the sorrow or the pain.
Feature-length film comedy is harder to pull off than the episodic sitcom – it doesn’t have the same factory machinery up and running, teams of writers putting familiar characters through permutations – but that doesn’t explain the widening quality gap that makes movie humor look like a genetic defective.
Women’s humor seems to be a little more supportive. It’s just kind of trying to make the other one laugh through funny voices and kind of talking about other people. I respond to that. I feel less like I’m going to get beat up in a room full of women than I do in a room full of guys.
I’m interested in humor, and greeting cards just happen to be a perfect medium for my message. They’re accessible to everyone, and thanks to all the advances that have been made by environmentally conscientious printers, I can get my message across while keeping my carbon footprint relatively small.
As I write, I control my anxiety and anguish thanks to the invaluable aid of irony and humor. But every night I am subdued by an anxiety that knows no irony, and I must wait until the next day to rediscover the blend of anguish and humor that characterizes my writing and that generates my style.
Jerry Seinfeld is amazing in many ways, not the least of them his ability to find humor, and convincing us to find it, too, in the million-and-two details about modern life that under different circumstances might send us into paroxysms of rage.
When I was young, my favorite picture book was ‘Fletcher and Zenobia,’ written by Edward Gorey and illustrated by Victoria Chess. It’s long out of print now, but its mix of macabre humor and 1960s psychedelia made it a perfect children’s book for the times.
